Plays

Selected plays for 21st Bharat Rang Mahotsav 2020.

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All Plays English Foreign Plays

CONFERENCE OF THE BIRDS

Playwright: Farid ud Din Attar
Director: Wendy Jehlen
Group: Anikaya, USA
Language: English
Duration: 1 hr 20 mins

 

The Play

Conference of the Birds is an evening-length movement theatre work, conceived and directed by Wendy Jehlen and inspired by the epic poem of Farid ud Din Attar. It is a tale of a group of birds that set off in search of the mythical bird, the Simurgh.  Many of the birds abandon the quest. When the remaining birds arrive in the land of the Simurgh, they find themselves reflected… they are the Simurgh. We use Attar’s text as a frame for narratives gathered from refugees and other migratory people, symbolizing the journey that we, the diversity that is humanity, take together. It is a story of found community, of the necessity of difference. Conference of the Birds has been supported by the Doris Duke Foundation for Islamic Art, The Boston Foundation, Jacob’s Pillow, Arts Emerson, Theatre Communications Group, New Music/USA and National Endowment for the Arts.

 

Director’s Note                                                                                  

Conference of the Birds poses the question:  How can we be different together?  The performance proposes an answer. Anikaya explores this question by translating contemporary migrant stories into dance. In the creation of the work, the company directly engaged with refugee and other migrant communities throughout the creative process. Through a community-based, artist-led process, we have created a framework within which a dynamic evolving presentation can happen – relevant to the moment. Conference of the Birds addresses many narratives at once. It addresses issues pertinent to religious and cultural minorities, gender and sexuality, refugees, and works to counteract xenophobia in its many manifestations – both in content and in the composition of the company. Re-contextualising this classical Sufi text illuminates current moment in history, bringing to full circle the idea that human history is a history of movement, mingling and entanglements.

 

The Director

Wendy Jehlen’s career has been marked by international explorations, study and creative collaboration. Wendy engages in collaborations across languages, culture, media and genres.  Her work questions the boundaries that we imagine between ourselves, and seeks to break down these imagined walls through an embodied practice of radical empathy. Her unique approach to choreography incorporates elements of Bharat Natyam, Odissi, Capoeira, Kalaripayattu, West African dance, Butoh, and a wide-range of contemporary movement forms. Her emotionally powerful choreography has been created and performed in the US, Canada, Italy, India, Japan, Brazil, Benin, Burkina Faso, Botswana, Mali and Turkey. Her works include Delicateness in Times of Brutality (2017), a duet with Deaf Butoh artist Dakei; Entangling (2015), a duet inspired by Quantum Entanglement; The Deep (2015), a work for 25 dancers created in Brazil; Lilith (2013), a solo on the first woman; The Knocking Within (2012), an evening-length duet on a disintegrating relationship; Forest (2010), a journey through the archetypal forest; and He Who Burns (2006).

 

The Poet

Abū Ḥamīd bin Abū Bakr Ibrāhīm, better known by his pen-name Farīd ud-Dīn Aṭṭār, was a Persian poet, theoretician of Sufism, and hagiographer from Nishapur who had an immense and lasting influence on Persian poetry and Sufism. Manṭiq-uṭ-Ṭayr (The Conference of the Birds) and Ilāhī-Nāma (The Book of Divine) are among his most famous works.

 

The Group

Anikaya’s mission is to break down the perceived boundaries between people, cultures and art forms. Our work has so far extended to the US, Benin, Brazil, Burkina Faso, Canada, France, India, Italy, Japan, Korea, Mali and Turkey. Anikaya weaves together music, dance and storytelling to create works that pull from the full range of the body’s communicative capabilities. We incorporate traditional forms, internalizing them and then allowing them to reemerge as part of a new contemporary movement vocabulary. The result is work that is resonant of deep-rooted traditions, without being bound to any particular genre, place or practice. The ensemble includes performers from Benin, Brazil, Egypt, Indonesia, India/South Africa, Japan, Turkey and the US.

 

Cast & Credits

Dancers Ibrahim Abdo (Egypt), Yasin Anar (Turkey), Sarveshan Gangen (South Africa/India), Kae Ishimoto (Japan), Danang Pamungkas (Indonesia), Luciane Ramos da Silva (Brazil)
Music created by Fraction (Eric Raynaud) (France), Shaw Pong Liu (USA), Shaho Andalibi (Iran/Canada), Deraldo Ferreira (Brazil/USA)
Light Design Stephen Petrilli (USA)
Light execution Gregory Casparian (USA)
Projection Design David Bengali (USA)
Calligraphy artist & content consultant Pouya Jahanshahi (Iran/USA)
Director/Choreographer        Wendy Jehlen (USA)

 

                                     

Contacts

Director, Anikaya

67 Dane St., Somerville, Massachusetts,

USA- 002143

M: +1 6178617930

E: wendyjehlen@gmail.com

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All Plays Assamese Indian Plays

CHENGPUNG BORDER

Playwright & Director: Pranjal K Saikia
Group: Team Indipity, Guwahati
Language: Assamese
Duration: 1 hr 30 mins

 

The Play

A retired teacher of Chengpung village of Assam and Nagaland border, Mr. Dharmeshwar Bora has a small happy family – his wife, a goat and a dog. Although Mr. Bora has had a dream to be a car owner since he was young, his dream became stronger with the provident fund money he received on retirement. On being a car owner, he realised that it is not easy to survive in a bordering village, due to car-lifters, militant’s etc. Day by day Mr. Bora became very possessive about his car, to the extent that the fear of losing his beloved car took away his sound sleep. The story takes a turn when Mr. Bora tries to save his car from such circumstances (Border miseries seem to have no end…..).

 

Director’s Note

Every border (national or state) has its own stories to tell. Living in a village of Assam and Nagaland border, I have experienced the border that has fear, relentless mountains and way-faring rivers. The border that has tasted blood, militant movements, illegal arms, cannabis (Ganja), banned pseudoephedrine tablets etc. The common and innocent people of bordering villages have endless miseries; their dreams are meant to be shot. This play deals with the struggle of their survival, aspirations, dreams and downfall.

 

The Director & Playwright

Pranjal K Saikia is a commerce graduate from Guwahati University and holds a diploma in Dramatic arts from the Himachal Cultural Research Forum, Mandi (Himachal Pradesh). Since then he has worked as an actor, theatre director, script writer and also theatre trainer in different parts of India including Delhi, Bhopal, Meghalaya, Assam, Arunachal Pradesh and Tripura. Few of the important plays that he has acted in are Lower Depths, Andher Nagari Choupat Raja, Gaatha- the 1st text, Ashaad Ka Ek Din, Yatra Subha Houk etc. His major directorial works are Badal Sircar’s Ballavpur ke Rupkatha and self-written Bhumura, Status Complicated, Indipity, Bhou, Kiri Daloi (Jaintia Play) etc. Apart from these he has worked with different NGOs on different social issues in Madhya Pradesh, Assam and Tripura. One of his plays Indipity was selected for the 8th Theatre Olympics, 2018, and his Play Bhou was selected for the inauguration of 20th BRM, 2019 at Dibrugarh. Both of these plays were written & directed by him.

 

The Group

Established in 2012 at Guwahati, Assam Team Indipity is a group of young and energetic Theatre Artists. Team Indipity conceived with the idea of raising consciousness about social and psychological issues through meaningful theatre activities. Right from its inception the group also conducts theatre workshops, street play in all over north-east. The group is dedicated towards establishing new practices of art forms in the drama world and to articulate talents both physically and mentally. The group has performed in various theatre festivals including 20th Bharat Rang Mahotsav.

 

Cast & Credits

Dharmeshwar Bora Manoj Saikia
Sakuntala Rimjhim Deka
Naga Militants Arup Jyoti Rabha, Gokul Mipun, Utpal Hazarika
Goat Monalisha Rajbongshi
Dog Suraj Das
Villagers/Body Movements Abhijit Chutia,  Rijumoni Deori, Jyotishman Kaushik, Sanjiv Das, Bhaskar Dutta,  Desh Adhikari, Nandini Das, Aishwariya Bora, Rituparna Sakia, Nirupama Deka
Light Tapan Borua
Music Mandeep Mahanta
Costume Rijumoni Deori
Production Manager Achyut Saikia
Assistant Director Gokul Mipun and Bhaskar Dutta
Playwright & Director                            Pranjal K Saikia

 

 

Contacts

Director, Team Indipity

Ivy Enclave, Flat No – 404, Bye Lane No. 9

Dr Zakir Hussain Road, Sorumotoria

Down Town, Guwahati – 781006

Assam, P.O- Dispur

M: +91 8638846349, 8638002401

E: teamindipity@gmail.com

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All Plays Hindi Indian Plays

CHARUDUTTA

Playwright: Mahakavi Bhasa
Director: Bupesh Joshi
Group: Gaatha Natya Dal, Delhi
Language: Hindi
Duration:

 

The Play

The theme of the play not only represents the society in the aforesaid era, but also throws light on the degenerating values of the modern society. Love and brotherhood have given way to deceit, cunning and crime. In the story, Charudutta, once a prosperous resident of Ujjaini, due to his compassion and generosity, is now a poor man. Vasantsena, a courtesan, is the pride of the town. She is a benevolent, gracious and beautiful young woman. Enamoured by the extraordinary qualities of Charudutta, she falls madly in love with him. Although the story is a unique example of realism in Sanskrit literature, it is also apt for contemporary Indian theatre.

 

Director’s Note

Among the plays written by Mahakavi Bhasa, Charudutta is exemplary in its narrative and character portrayal. It is said that Sudraka’s Mrichhakatikam is based on Charudutta. The central thought of the play is that one should remain steadfast in one’s principles and values even in difficult times. The play also emphasises responsibility and morality in the institution of marriage. The storyline primarily deals with Shringara, Karun, and Hasya rasas, which are a part of the Navrasas of Bharatmuni’s Natyashastra. Keeping the traditions of Sanskrit drama, the play begins with a prelude. Visuals and choreography are blended in the production to make the play more interesting.

 

The Director

Born in Pithoragah, Uttarakhand, Bupesh Joshi is a graduate of Bharatendu Natya Akademi, Lucknow (1999). He is a recipient of Safdar Hashmi Award (2018) from Uttar Pradesh Sangeet Natak Akademi. He worked as an actor with Rangmandal, Shri Ram Centre for Art and Culture, New Delhi from 2000 to 2011. He has acted in more than 50 plays including Hayavadan, Jis Lahore Nahi Dekhya…, Ek Gadhe Ki Atma Katha etc. and directed more than 40 plays including Charudutt, Ashad Ka Ek Din, Arey Mayavi Sarovar and Mayaram Ki Maya. He has acted in films like Pinjar, Chintooji, Soan Chidiya; and tele-serials like Dehleej and Tum Sath Dena Mera. Bhupesh has participated in Tractor International Theatre festival, Italy and various others theatre festivals held nationally and internationally. He is a recipient of the Junior Fellowship from Ministry of Culture, Government of India.

 

The Translator

Lalit Singh Pokhriya, a graduate of Bharatendu Natya Akademi (1984-87), is an actor, playwright, director and theatre faculty. He has been awarded by the Uttar Pradesh Sangeet Natya Akademi, and is active in Indian theatre for the last 35 years. He has acted in more than 60 plays and conducted more than 50 workshops on theatre. He is the Founder Director of Nisarg Natya Sansthan, Lucknow, and a guest theatre director and faculty at Bharatendu Natya Akademi, Lucknow; Himachal Cultural Forum Natya Akademi, Mandi, Himachal Pradesh; Garhwal University and various other institutes.

 

The Group

Gaatha Natya Dal was established in 2005. It organizes production-based theatre workshops and children theatre workshops every year in Pithoragarh with assistance from Sangeet Natak Akademi, Uttarakhad. The group conducts theatre workshops under the National School of Drama Extension Programme. It also organizes institutional seminars, theatre discussions and theatre readings on drama, art and culture.

Cast & Credits

Charudutt Bhupesh Joshi
Vasantsena Priyanka Sharma
Shakar Prasoon Narayan
Vitt Vikas Yadav
Maitraye  Mukesh Jha
Radanika Ritu Raj
Madanika Nikita Rawat
Sharvilak Rajeev
Samvahak Ashwin Saxena
Nat Ramashankar Yadav
Nati Shalu Rajput
Brahmani Rochika Agarwal, Shalu Rajput
Chaturika Purnima
Karnpoorak Amit,Ankush Verma
Vyakti Ankush Verma, Arun Bhatt
Choornagoshth/Vardhmanvaka Shivam Kumar Pathak
Chorus Tanishk Joshi, Samrat Singh, Lata Joshi,
  Akshat Singh, Kanishk Joshi, Sarita Chaturvedi
   
Stage Management Arvind Singh
Stage Setting Ankush Verma,Arun Bhatt, Kartikeya Masiwal, Sonu, Md. Bilal
Stage Design Bhupesh Joshi
Costume & Choreography Satprakash
Assistants Shalu Rajput,Lata Joshi, Shivam Pathak,
Stage Property Vikas Yadav, Ashwin Saxena
Music Ravi Sharma, Gagan Singh
Music Operation Waqar Khan
Movement Bhumikeshwar Singh
Light Design Rahul Chauhan
Make-up Mukesh Jha,
Production Controller Tara Chandra Pant

Playwright                  Mahakavi Bhasa

Translator                  Lalit Singh Pokharia

Concept & Direction  Bhupesh Joshi

 

Contacts

Gaatha Rangmanch Kala Evam Sanskriti

A-38/2, Second Floor

Gali No. 08, West Vinod Nagar

Delhi-110092

M: +91 8750935473, 8076115170

E: gatha.theatre@gmail.com

 

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All Plays Bengali Indian Plays

CHARANDAS CHOR

Story: Vijaydan Detha
Director: Basudeb Hui
Group: Samatat Sanskriti, Uttarpara
Language: Bengali
Duration: 1 hr 55 mins

 

The Play

Charandas was a known thief with a razor sharp brain. He was famous for his unique modus operandi. He used to steal or snatch by talking people into his trap. Charandas also enjoyed deceiving the ‘habildar’ or the constable. One day he came across a Guru; that too while running from the constable. The Guru said that to be his disciple Charandas needs to make a vow and renounce something. Taking this to be fun, Charandas made four funny promises of renunciation. He took the vow of renouncing lie and falsehood. Strangely enough he followed the path of truthfulness without deviating from his ‘dharma’ of stealing. He became a truthful thief. Then in his life came the queen, the minister, the royalty and the crown. Can he stick to his truthfulness under the magnanimous pressure of power?

 

Director’s Note

Lack of trustworthiness is the most grievous and outrageous social problem of our society. Everything which we try to plan and achieve for the sake of our country men, becomes unsuccessful due to falsehood and unfair means in every step of development. We need to be true to our inner self with the virtue of mankind. Charandas Chor is a thief who portrays truthfulness on the canvas of craftiness and deceit of the society. Though theft is evil, here it is merely an imagery. Charandas is loyal to his work and words. Huge temptations and enticement can’t deter Charandas from his oaths. This story can be a pathfinder to the present generation of people to lead a life with dignity and to stand with truthfulness in every situation. Our “Charandas Chor” is inspired by Vijaydan Detha’s story, which is based on the Rajasthani folktale. Based on these texts and folklores our play has been devised and adapted by the director and actors of Samatat Sanskriti. The text has also been contextualized in the perspective of Bengal. This play is a tribute to Habib Tanvir who made it a classic.

 

The Director

Basudeb Hui is a graduate from Birla Institute of Technology. He took a ten-week intensive theatre workshop conducted by the National School of Drama under Prasanna, Barry John, Badal Sircar, Shyamanand Jalan, B.M. Shah, Devendra Raj Ankur, Suresh Bharadwaj and Pankaj Saxena. He also attended the movement, body language and acting workshop of Badal Sircar organized by British Council in Kolkata. Basudeb was a performer in Calcutta Youth Choir under the leadership of Ruma Guha Thakurta. He formed Samatat Sanskriti, Uttarpara in the year 2000.

 

The Story Writer

Vijaydan Detha (1926 – 2013), also known as Bijji, was a noted writer from Rajasthan and a recipient of the Padmashri, Sahitya Akademi, and many other awards. Detha has more than 800 short stories to his credit, which have been translated into English and other languages. With Komal Kothari, he founded Rupayan Sansthan, an institute that documents Rajasthani folklore, art, and music.

 

The Group

Samatat Sanskriti started its journey in 2000 as a theatre and cultural organization. Well-known theatre groups Sudrak and Nandikar helped Samatat in its first eight years. Samatat’s theatre festival, Samatat Natyamela is dedicated to diseased and distressed theatre workers. Samatat is continuing its work in theatre-in-education, youth and children workshops, trainee-trainers workshops, and regular actor training classes. Samatat started producing its own plays independently since 2008 and has more than 25 productions and nearly 500 shows to its credit. Samatat has participated in collaboration programmes with Sweden, Bangladesh and Vietnam. Multiple students from Samatat have participated in intensive theatre workshops organised by NSD and Sangeet Natak Akademi.

 

 

Cast & Credits

Charandas Chor Soumyadeb Hui
Habildar Anuran Basuroy
Gurudev Abhijit Mukherjee
Landlord Milan Chakrabarty
Mohila Hrithika Roy Chowdhury
Farmer/Santri Sourav Nandy
Drunkard Ashish Kumar Roy
Gambler/Priest Arghya Samanta
Gajakhor/Santri Uttaran Banerjee
Tetku Sourav Das
Announcer/Munim Arghyadeep Dey
Minister Subhadeep Sadhukhan
Rani Prerana Roy
Dashi Rakhi Kundu
Rajpurahit Tarun Prasad Dutta
Chorus Daita Chatterjee, Soumili Knarar, Anushka Roy, Trisha Bhoumik, Poushali Das
Singers, Musicians Joy Thakur, Sucharita Hui
Musician Alok Pal
Light Sadhan Parui, Chinmoy Ghosh, Samar Parui
Make-up Mahua Roy
Asst. Director Soumyadeb Hui, Anuran Basuroy
Story Writer               Vijaydan Detha
Director                      Basudeb Hui

 

Contacts

Director, Samatat Sanskriti, Uttarpara

209, Jay Krishna Street, P.O – Uttarpara

Distt. Hooghly West Bengal – 712258

M: +91 9831051262

E: basudeb_hui@yahoo.co.in

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All Plays Indian Plays Tamil

CHANDALA, IMPURE

Playwright: William Shakespeare
Director: Koumarane Valavane
Group: Indianostrum Théâtre, Pondicherry
Language: Tamil
Duration: 3 hrs

 

The Play

In beautiful India, where our play takes place, lives a very old demon. Sitting on his throne he feeds only on hate. He divides the world into four Varnas, “At the height of purity are the Brahmins; below them Kshatriyas, the warriors; then the Vaisyas, the merchants; and finally the Sudras, the servants. There should be a fifth category that needs to be added, of those who are totally impure to touch, the Chandalas…”An angel no bigger than a butterfly faces this eternal demon. He is Kama. The play offers the insatiable appetite of this monster with two mythical lovers, Romeo and Juliet, renaming them as Jack and Janani…

 

Director’s Note

Through our play we are trying to explore the caste system from the point of view of the contemporary Indian youth; how they are coping with this system, what are their aspirations, what are their values and how their being is affected by their place in a community, and the place of the community in our society. We also wish to visit the role of a community in an individual’s life and vice versa. The characters in this play are very much based on the documented lives of real people and situations. We also attempt to explore how our means of entertainment like cinema are affecting the ‘idea of love’ for our youth.

 

The Director

Koumarane Valavane, a Franco-Indian, left for France in his early years for his studies, and started practicing theatre at a very young age. After completing his research in Theoretical Physics he founded his own theatre company, Natya. Before returning to India in 2006, he worked for 3 years as an actor at Theatre du Soleilin Paris. With the rich experience of Contemporary Theatre gained in France, Koumarane returned home with a decision to continue exploring theatre. He met a few young people at Alliance Francaise de Madras, a small group connected by the passion to do theatre, and created Indianostrum in 2007.

 

The Playwright

William Shakespeare (1564 – 1616) was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world’s greatest dramatist. He is often called England’s national poet and the ‘Bard of Avon’. His extant works, including collaborations, consist of some 39 plays,154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.

 

The Group

Indianostrum Théâtre was founded by Koumarane Valavane, a French-Indian Director in the year 2007.

Indianostrum has performed at national and international festivals like Le Festivals des Francophonies en Limousin, France (September 2018), Rangashankara Theatre Festival, Bangalore (November 2018), Saarang Theatre Festival, Pune (February 2019), Mahindra Excellence in Theatre Awards, New Delhi (March 2019), The Hindu Theatre Festival- Chennai (August 2019), Les Journées Théâtrales de Carthage- Tunisia (December 2019). It has won Mahindra Excellence in Theatre Award 2019,  and Le Festivals des Francophonies en Limousin award, France 2018, and special jury award from the public of Théâtre de l’union for the year 2018-19.

 

Cast & Credits

 

On Stage Anjana Balaji, C. Santhosh Kumar, Dharanidharan U.,
David Salamon, G. Mani Bharathi, Mati Rajput, Priyadarshini Chakravarty,  Purisai Kannappa
Sambandan, Saran Jith, Vasanth Selvam (M)  
   
Scenography Savee Sathish Kumar
Scenography Assistant Manon Grandmontagne
Set Execution Joseph Bernard L.
Live Music and Singing David Salamon, Saran Jith
Costume Design Krishnapriya, K. Narendran
Light Design Jean-Christophe Goguet
Video & Multimedia Production Pascal Brazeau, NishanthVarma, Iswar Lalitha
Choreography Suresh Babu
Puppets Training K. Periyasami
Light Operator Kumar K.
Sound Operator Ruchi Raveendran
   
Executive Producer/Administration & Production/AV Projection Priti Bakalkar
Subtitles Operator KoumaraneValavane
Production Assistant Natarajan R.
   
Playwright                                                      William Shakespeare
Adaptation & Direction                                 Koumarane Valavane

 

Contacts

Director, Indianostrum Theatre

No. 7 Romain Rolland Street, Pondicherry

M: +91 (413) 2341475/ 9820403308

E: indianostrum.theatre@gmail.com

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All Plays Hindi Indian Plays

BURY THE DEAD

Playwright: Irwin Shaw
Adapter & Director: Surya Mohan Kulshreshtha
Group: NIPA Rangmandali, Lucknow
Language: Hindi
Duration: 1 hr 30 mins

 

The Play

This is a story of an unknown place and time where a war is being fought for the past two years. On the aforesaid day six soldiers who were killed two days ago are being buried in the battlefield. Suddenly, these soldiers rise and refuse to be buried. These dead soldiers have their own logic i.e. that wars are fought and the common man dies to feed the ambitions, business and greed of a handful of power-hungry people. The corpses say that they wish to live… the life of a farmer, of a son, with friends, with their beloved… enjoying nature, relationships and beauty that this life is endowed with. The women from their homes are called to convince them but that too doesn’t work. In the end the general tries to blow them with a machine gun but the corpses come out of their graves and stand amidst the people, thus underlining the importance of life, and drawing the attention towards the horrors of war generated by sheer greed.

 

Director’s Note

Written in 1936 after the First World War, Irwin Shaw’s play Bury the Dead is an anti-war story. The play boldly opposes the use of the common man as fodder for war and violence, to fulfil the personal gains of a few people. The play also conveys the unlived dreams of dead soldiers, and those whom they leave behind to pay the price of war. The near and dears of the soldiers go through extreme trauma emotionally, socially and financially. Today violence, terror and war are being justified in the name of religion and nationalism. In these times, I feel, this play of Irwin Shaw is as contemporary as it was when he wrote it. This play was a challenge for the creative vision since sometimes it is expressionist and at places idealistic. We have tried to convey these factors with the help of scenography, lights, movements, make-up, costumes and acting. I felt that instead of translating, an adaptation would convey the feeling to the Indian audience more effectively. The presentation is for the audience to enjoy, introspect and analyse.

 

Director and Adapter

Recipient of the Sangeet Natak Akademi award, and former director of Bharatendu Natya Academy, Lucknow, Surya Mohan Kulshreshtha took his training in theatre from BNA, Lucknow, in 1976-77. He has organized many theatre workshops and his directorial ventures have been staged nationally and internationally. His original plays include Tukde, Veer Lorik, and Natak Ganesh Markaaur Char Shikhaayen. He has translated The Caucasian Chalk Circle and Three Penny Opera by Bertolt Brecht, Sanskrit plays Bhagvadajjukeeyam and Mrichchhakatikam and many other western and Indian plays to Hindi. He has directed, co-directed, acted and scripted many films, TV serials and tele-films. He is known for his performance as Socrates in the play Bare Foot in Athens directed by Raj Bisaria. Surya Mohan Kulshreshtha has been awarded an honorary diploma in Norway; the best costume designer in America; Senior Fellowship by the Govt. of India; and Kala Bhushan by Uttar Pradesh Hindi Sansthan. He is the president and artistic director of NIPA, and has earlier been associated with IPTA and Meghdoot.

 

The Playwright

Irwin Shaw was an American playwright, cine writer, story writer and novelist who began writing at the age of 21. In 1935, he wrote an anti-war play Bury the Dead and his first screen play The Big Game. In the latter half of that decade his stories were published in many popular magazines. In 1948, inspired by his experiences in the American army, he wrote The Young Lions which was later made it into a film in 1958. He dedicated the rest of his life to writing novels.

 

The Group

NIPA Rangamandali was established in 1991 by a group of talented and popular artists of Lucknow. It has given highly acclaimed performances in India as well as in Norway, Finland, Germany, Sweden, Denmark, America, Canada and Pakistan. Bhagvadajjukeeyam has done more than 100 shows. Experimenting with different forms, the group has presented Mitti ki Gaadi, Kundmala, Pret, Lohar, Ashadh ka Ek Din, The Lesson, Exit the King, Jai Sidhnayak, Sambashiva, Vasamsi Jeernani, Balkan Women, Crusades and many more plays.

 

Cast & Credits

Soldier 1 Shubam Singh Chauhan
Soldier 2 Akshat
Soldier 3 Sandeep Kumar
Soldier 4 Avinash
Sargent Sujeet Singh Yadav ‘Bunty’
Priest 1 Ramesh Saini
Priest 2 Abhishek
Captain Nitish Bhardwaj
High Command 1 Vinay Kumar Mishra
High Command 2 Anuj Nigam
High Command 3 Gaurav Dinghra
Doctor Akansha Aggarwal
Typist Bajyanti Nath, Pallavi Singh
Corpse 1 Shubam Tiwari
Corpse 2 Vikesh Bajpayee
Corpse 3 Suraj Pratap Singh
Corpse 4 Shivam Singh
Corpse 5 Sachin Jaiswal
Corpse 6 Saurabh Kumar Mishra
Sister of Corpse1 Baijanti Nath
Wife of Corpse 2 Shivangi Nigam
Wife of Corpse 3 Puja Singh
Wife of Corpse 4 Pallavi
Beloved of Corpse 5 Komal Singh
Mother of Corpse 6 Mridula Bhardwaj
Scenography Assistants Vinay, Shubam, Sachin
Stage Property Ritesh, Sherya, Adarsh, Shivam, Sandeep, Gunjan Jain
Costume Assistants Akanksha Aggarwal, Amrita Paul, Komal Singh, Gaurav, Shivangi Nigam
Live Music Mahinder Pal
Sound & Vocal Music Bharatendu Kashyap
Sound & Music Assistants Anuj Nigam, Akshat
Vocal Music Operator Anant Sharma
Light Assistant Sujeet Singh Yadav
Poster Shreya Ranjan, Gunjan Jain
Stage Management Aarav
Light Design & Operation Anoop Joshi ‘Bunty’
Make-up Praveen Namdeo, Shaahir Ahmad
Costume Designer, Assistant Director & Presentation Controller Mridula Bhardwaj
Art Director Bharatendu Kashyap
Adaptation & Direction         Surya Mohan Kulshreshtha
Playwright                                          Irwin Shaw

 

 

Contacts

Neepa Rangamandali

C-11 Sector-1, Aliganj

Lucknow-226024

M: +91 9335905547

E: nipasurya@gmail.com

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All Plays Indian Plays Malayalam

BOLIVIAN STARS

Playwright: P V Shajikumar
Director: Arun Lal
Group: Little Earth School of Theatre, Palakkad
Language: Malayalam
Duration: 1 hr 30 mins

 

The Play

The Bolivian Stars are losers in life, and also in the matches of football. ‘The Sevens’ always get defeated. The characters in the play are seven misplaced footballers pushed into the wasteland of life. They convey seven different themes. The team has a black, a white, a handicapped, a migrator, a male, a female and a transgender. They learn the lessons of protest and survival. They use them in the playground as if they are in a battlefield. Each character has its own individuality.

 

Director’s Note

The play is set in a football ground with one goal post. In our production performance of actors is given more importance with minimal use of stage properties. The energy and quick movements of young actors render a new vitality to this unique football match. Change in locale and time are shown through the alteration of stage properties. Each scene is related with football match in one way or the other. Audience experiences a play and a football match simultaneously. In the background of a football match, the play also shows us the marginalised life of 7 characters, and at the same time also reminds us about those geniuses who got a new life because of football.

The seven players are staring at an identity crisis. And for them, winning the game is all about winning against the many challenges the society is throwing at them. A plethora of issues the society is grappling with is discussed in the play.

 

The Director

Arun Lal is an actor, director and theatre trainer. He has been working in the field of theatre arts for last 20 years. He has acted in more than 30 plays and directed more than 25 plays including children’s plays. He has trained under various theatre directors. As an actor and director, he has exhibited his abilities in different theatre festivals all over the country. These include BRM, NSD Theatre Festival, New Delhi; Jashne Bachpan, NSD; ITFOK IAPAR International Festival, Pune; Rangayan Fest, Mysore, PRD Theatre Festival, Bratyajon, Kolkata, AIR Theatre Festival etc. He is working with different theatre groups in Kerala. He is a recipient of many awards for his excellence in theatre. He is the artistic director of Little Earth School of Theatre, Kerala.

 

The Playwright

P V Shajikumar is a well-known writer in Malayalam literature. His famous books are Janam, Vellarippadam, Kidaparasamaram, Ullal, GLPUschool Keekakmgot, Kalichampothiyilekku Oru Halfticket and Itha Innu Muthal Itha Innale Vare. He has won several national and international awards.

 

The Group

Little Earth School of Theatre, Kerala has been conducting theatre activities for the last 20 years. Over the years the group has produced more than 20 plays and given more than 600 stage performances in several theatre festivals all over India. It has won two awards in META Festivals. The play Chillara Samaram was awarded the best play and best director by Kerala Sangeetha Nataka Academy in 2015. The group organizes children’s camps and other cultural as well as theatre festivals occasionally, and aims at the educational and cultural development of children and society through theatre.

 

Cast & Credits

Team Captain Suresh
Maradona Jishnu
Balan Akhil
Sainudheen Mohith
Sanjuttan Sanjay Sankar
Hikmath Abdul Majeed
Babykkuttan Savithri
Maradona’s Guardian Aneesh Sankar
Captain’s Father Sarath Kumar
Toddy Worker/Velichappad Sudev
Captain’s Mother/  
Babykkuttan’s Mother Amrutha
Contractor Vipin Das
Broker Anas
Music Design & Operation Sonu
Light Design & Operation Sajas Rahman
Costume & Technical Support Vishnu, M P Rajesh
Playwright                              P V Shajikumar
Director                                  Arun Lal

 

Contacts

Little Earth School of Theatre

C/o Arun Lal, Nikunjan House,

Peringode (P.O.), Palakkad (Distt.) 679533

M: +91 9846550963

E: littleearththeatre@gmail.com

Macbeth 1
All Plays Hindi Indian Plays

BARNAM VAN

Playwright: William Shakespeare
Translator: Raghuvir Sahay
Director: Vyomesh Shukla
Group: Roopvani, Varanasi
Language: Hindi
Duration: 2 hrs

 

The Play

Returning victorious from the battle, Macbeth and Banquo meet three witches on the way who prophecy that Macbeth would be the next king. Captain delivers the news of victory to Duncan. Duncan announces Macbeth as the Chief of Cawdor. Lady Macbeth receives Macbeth’s letter. Macbeth returns home and informs her of Duncan’s arrival. Lady Macbeth decides to kill Duncan. Duncan’s arrival. Lady Macbeth welcomes and arranges a feast. Conspiracy in Macbeth’s chamber. Macbeth meets Banquo and his son at midnight. Macbeth prepares to kill Duncan. King Duncan is murdered. Commotion in Macbeth’s palace. The news of Duncan’s murder spreads. Macbeth orders that Banquo be killed. Banquo is murdered. His son escapes. Banquo’s ghost appears. Macbeth loses sanity and is taken to the hospital. Macbeth goes to meet the witches. They encourage him but warn him to stay away from Macduff. Malcolm prepares to fight against Macbeth. A soldier spots Birnam wood advancing towards Dunsinane. Macbeth’s monologue. The news of Lady Macbeth’s suicide. Macduff follows Macbeth. The last fight and the end of Macbeth.

 

Director’s Note

We have dealt with Shakespeare as we would deal with an Indian playwright. We did not have any pre-conceived notion to encounter this work of the great English writer. We decided to use the Chhand style as we had earlier used in the poetry of classics like Kamayani, Ram Ki Shakti Puja, Rashmirathi, Panchratram and Chitrakoot. We have made an effort to perform this play with the fusion of three dance forms i.e. Chau, Bharatnatyam and Kathak, incorporating the essence of Banaras and its landscape as the backdrop.

 

The Director

Born on 25 June 1980 in Banaras, Vyomesh Shukla is a poet, critic and theatre director. He spent his childhood in Banaras and completed his education (M.A.) also from Banaras. He started professional writing in 2004 and theatre direction in 2012. Besides poetry, he has written critical essays, and time and again delved in cultural journalism. He has directed Kamayani, Ram Ki Shakti Puja, Rashmirathi, Panchratram, Chitrakoot and Barnam Van. He has also directed a tribal folklore Bansin Kanya based on the evolution of bamboo, with around 250 artists, for Madhya Pradesh government. Vyomesh is a recipient of Ustad Bismillah Khan Yuva Award from Sangeet Natak Akademi, and his productions have been staged nationally and internationally.

 

The Playwright

William Shakespeare was a renowned English poet, playwright, and actor born in 1564 in Stratford-upon-Avon. He died in 1616. Shakespeare was a prolific writer during the Elizabethan and Jacobean ages of British theatre (sometimes called the English Renaissance or the Early Modern Period). Shakespeare’s plays are perhaps his most enduring legacy, but they are not all he wrote. Shakespeare’s poems also remain popular to this day. Shakespeare’s works include 38 plays, 2 narrative poems, 154 sonnets, and a variety of other poems. No original manuscripts of Shakespeare’s plays are known to exist today.

The Group

Roopvani, Varanasi is a forty-year old organization which is being recreated afresh with a new craft and vision. Roopvani has produced and staged popular plays like Kamayani, Ram Ki Shakti Puja, Rashmirathi, Panchratram, Chitrakoot and Barnam Van. Ram Ki Shakti Puja was performed in the 19th Bharat Rang Mahotsav, and Panchratram in the Theatre Olympics. These productions have been staged successfully during national festivals and also at prominent theatres in different cities. Ram ki Shakti Puja received the Bhilwara Natya award in 2015 for the best play.

 

Cast & Credits

Duncan Ashwini
Macbeth Tapas
Lady Macbeth Swati
Macduff Nandini
Banquo Vishal
Witch1 Jai
Witch2 Sashwat
Sainik, Macduff’s son Sakhi
Pyaada Kajol
Lady Macduff Vanshika
Malcolm Akash Kesari
Yuthpati Deepak
Buzurg J. P. Sharma
Playwright                  William Shakespeare
Translator                  Raghuvir Sahay
Direction Vyomesh Shukla

 

 

Contacts

Director

Roopvani

K 58/21, Lohatiya, Varanasi-221001

M: +91 9519138988, 7007946472

E: vyomeshshukla@gmail.com

IMG_6886
All Plays Hindi Indian Plays

BHIKHARI NAAMA (Based on Bhikhari Thakur’s Life)

Playwright & Director: Jainendra Dost
Group: Bhikhari Thakur Repertory, Chhapra (Bihar)
Language: Hindi, Bhojpuri
Duration: 1 hr 15 mins

 

 

The Play

Bhikari Nama is a musical play based on Bhikhari Thakur’s life and his contribution to theatre. The play is broadly divided into four parts, each exploring one phase of his life. The first part presents his childhood, seamlessly moving into the section exploring his youth where Bhikhari Thakur narrates his life and talks about his marriage and his migration to Bengal in search of livelihood. He continues to work as a barber, his caste profession, in Bengal and also takes a keen interest in the Ramleela performances. Not too long after that, he returns to his village and starts putting up Ramleela performances. The next segment shows how Bhikhari Thakur goes on to set up his own theatre troupe, writing plays that go on to be wildly popular.

 

Director’s Note

As a researcher and director, I was amazed by the expertise in his work despite him being formally uneducated, and the way he worked behind the scenes. Ranchandra Manjhi, Shivlal Bari and Lakhichand Manjhi, three seasoned performers from Bhikhari Thakur’s original troupe, were a great support and it was with their guidance that I started the study of Bhikhari’s biographical songs, the play Naayi-Bahar, and the Bhikhari Thakur Shanka Samadhan. After this, I began collecting stories and events from Bhikhari’s life, right from his birth to when he created the Naach group. These were then re-assembled in chronological order before being made into a written performance text. The real challenge here was to think of the form that would best reflect the multifaceted artist’s work and life. We found the answer in our very own Launda Naach tradition. We weaved together songs, music, dance, drama and comedy in a documentary theatre form. The play

uses purbi, nirgun, doha, choubola and many other folk singing traditions in a theatrical form which highlight the cultural, sociological, and economic facets of Bhikahri Thakur’s life.

 

The Director & Playwright

Jainendra Dost is the founding director of Bhikhari Thakur Repertory and Research Centre. He studied theatre at the Department of Dramatics and Film Studies (MGAHV, Wardha). He also pursued a PhD in the School of Arts and Aesthetics, Department of Theatre and Performance Studies, Jawaharlal Nehru University, New Delhi. He completed his PhD thesis on the Launda Nach tradition, focusing on Bhikhari Thakur’s invaluable contribution to the form, this year. He has directed more than fifteen plays and many folk musical programs, and his theatre company has been invited to international theatre festivals in Pakistan, Sri Lanka, Bhutan and Nepal where it performed successfully. Recently Jainendra made a documentary film on Bhikhari Thakur’s life and theatre performances, Naach Bhikhari Naach, with the support of Doordarshan and Public Service Broadcasting Trust (PSBT). The film has been screened at film festivals in the country and abroad, and has received much appreciation.

 

The Group

Bhikhari Thakur Repertory Training & Research Centre is dedicated to the study and research of folk theatre traditions. Traditional actors who were trained and worked under the guidance of Bhikhari Thakur himself are an integral part of this repertory. The collective has performed at famous national and international festivals. The eldest member and artist of the Bhikhari Thakur Repertory, Ramchandra Manjhi, received the Sangeet Natak Akademi Award in 2017. In the same year, the repertory and Sangeet Natak Akademi of India also organized an event, Bhikhari Thakur Theatre Centennial Celebration, at Bhikhari Thakur’s birth place, Kutubpur, and also in Chhapra (Bihar).

Cast and Credits

Sutradhar Jainendra Dost
Pyari Sundari/Singer Sarita Saaz
Story Teller/Singer Ramchandra Manjhi
Story Teller/Singer Lakhichand Manjhi
Story Teller Shiv Lal Bari
Harmonium Jaleshwar Mali
Dholak Bharat Thakur
Jhaal Raghu Paswan, Ramchandra Manjhi Chhote
Tabla Rahul Kumar
Chorus Priyanka Kumari, Gauri Shankar, Brijnath Singh
   
Light Shiv Kumar
Light Assistant Vivek Kumar
Set Ramlakhan
Property Naresh Gautam
Make-up Ankita Chaudhry
Music Design Sarita Saaz
Backdrop Design Dipti Ogre
Production Manager Nashim Ahmad
Stage Manager Ranjeet Kumar Ram
   
Script, Design &Direction                  Jainendra Dost

 Contacts

Bhikhari Thakur Repertory

Vill: Ramnagar, Near Railway Crossing,

P.O. Sandha, Chhapra, Bihar- 841301

M: +91 9560695145

E: dostjai@gmail.com

_NSD1148
All Plays Hindi NSD Repertory Company

BAYAN

Writer: Mahasweta Devi 
Director: Usha Ganguli
Group: NSD Repertory Company, New Delhi
Language: Hindi
Duration: 1 hr 35 mins

 

 The Play

Based on a story by Mahashweta Devi, Bayan is that play which creates awareness about the core expression of her writing, i.e. socio-economic disparities and the different shades of human life. Bayan’s Chandi Dassi is one who, at a very young age, is thrown into the work of burying dead animals. By invoking her responsibility towards the work of her ancestors, she is forced to live a life of great hardship. In time she decides to tie the knot with Malinder, a man who works in the government crematorium, and one who takes on her responsibility. However, the same Malinder later declares her to be a ‘bayan’ and Chandi Daasi loses all her rights to live a decent life. She starts believing that her life of inhuman exile is simply the norm.

 

Director’s Note

In my creative journey in field of theatre, along with the works of Rabindranath, Manto, Kabir and Premchand, the works of Mahashweta Devi have also struck me with a strange sharpness and intellectual perceptiveness that moves alongside their human aspects. Even before Rudali or Ganesh Mahima. Bayan’s Chandi Daasi had made a place for herself in my memory. Over the past few days, she has been helping this director search for a new vision, sometimes searching for a new theatrical language, shirking from the complexities of realism on the stage and trying to both give and take in the exchange of creative energies. For the past many years, the prop-less stage has appealed to me and attracted me for many reasons. I believe that minimalism on the stage might be able to help in the search for a new theatre vocabulary as drawn from the power of the actor’s body language, the internally developed characterization the symbolic imagery on stage, and the sounds of music- and this is what I kept trying for. Chandi Daasi and her creator Mahashweta Devi and those human shapes that get lost in the darkness and then remerge with strength and burn like sparks, are the ones who have been the sources of my inspiration.

 

The Director & Adapter

Usha Ganguli, a renowned theatre activist, known for her presentations like Lok Katha, Mahabhoj , Holi , Himmat Mai, Court Martial , Rudali , Mukti , Chandalika , Manasi , Hum Mukhtara and many others.

Rangakarmee, the Theatre troupe found by Usha Ganguli in 1976, remains the most active and prolific group, performing in Hindi, not only across India but also travelling abroad extensively. Usha Ganguli is perhaps the first and only theatre Director in India to be directing a play for a Pakistan theatre group Ajoka Theatre under their two-year long programme Theatre for Peace which includes theatre festivals, workshops, seminars etc. She has received the Best Production and Best Director Award (1993-94) by All India Critic Association and Paschim Banga Natya Academy for Rudali, Best Director Award for Lok Katha by Ritwik Ghatak Memorial Committee, Sangeet Natak Academy Award (1998), Girish Puraskar by West Bengal Govt in 2016 and several other awards from West Bengal and Uttar Pradesh State Academies. At present, apart from being the Director and President of Rangakarmee, Usha Ganguli is a member of SWAN (South Asia Women’s Network) which is a wing of SAARC. She is also currently the Scholar in Residence at the Viswa Bharati University.

 

The Author

Mahasweta Devi (14 January 1926 – 28 July 2016) was an Indian Bengali fiction writer and socio-political activist. Her notable literary works include Hajar Churashir MaaRudali, and Aranyer Adhikar. She was honoured with various literary awards such as the Sahitya Akademi AwardJnanpeeth Award, and Ramon Magsaysay Award, along with India’s civilian awards Padma Shri and Padma Vibhushan.

 

The Group

Established in 1964 with a membership of only four persons, the Repertory Company is the regular performing wing of the School. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and eighty one plays by ninety-eight playwrights and has worked with ninety directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad. It is celebrating fifty years of its existence this year.

 

Cast & Credits

Chandi Dasi Shruti Mishra
Joshi Sampa Mandal
Jhumu Anamika Sagar
Kali Suman Purty
Chumki Palak Jasrotia
Somari Sakshi Sharma
Puti Kaki Snehalata S. Tagde
Chorus

 

Sampa Mandal, Anamika Sagar,                         Palak Jasrotia, Suman Purty, Aparna Menon, Snehalata S. Tagde, Debomita Sur

 

 

Malinder Deep Kumar
Bhagirath Sikandra Kumar
Ketan Kaka Shahnawaz Khan
Sutradhar (Debu) Ashutosh Banerjee / Shubham Pareek
Dhuna Virendra Singh
Ganju (Gajendra) Naveen Singh Thakur
Budhu Manish Dubey
Dulu Rahul Kumar
Kali Mata, Khokan Jitu Rabha
Mintu Parag Baruah
Tulu Shubham Pareek / Ashutosh Banerjee
Khokha Vishveshvar M. Gondhali
Set Design Sanchayan Ghosh
Set Execution Ram Pratap, Manoj Kumar, Brijesh Sharma
Music Kajal Ghosh
Light Design & Operation Souti Chakraborty
Light Operation & Execution Govind Singh Yadav
Assistance Md. Suleman, Pradeep Aggarwal
Sound Mukesh Kumar
Costume Design Usha Ganguli
Chief Costume Co-ordinator C.S. Bhatia
Properties Design Dipankar Ghoshal
Assistant Mole Kumar Jana
Property Incharge Moti  Lal Khare
Make Up Sikandra Kumar, Shruti Mishra
Assistance All Repertory Artists
Tabla & Dholak Om Prakash
Shehnai Shakti Pada Matti
Octopad Narender Kumar
Harmonium Naveen Singh Thakur
Production Co-ordinator Sukumar Tudu
Stage Manager Govind Singh Yadav
Story                                                   Mahasweta Devi 
Dramatization, Design & Direction   Usha Ganguli
                                       

 Contacts

NSD Repertory Company

Bahawalpur House

Bhagwandas Road

New Delhi – 110 001

Ph: 011 23383420

W: www.nsd.gov.in

Yamata Amasung Keibu Keioiba (10)
All Plays Indian Plays Manipuri

YAMATA AMASUNG KEIBU KEIOIBA

Playwright & Director: Heisnam Tomba
Group: Kalakshetra Manipur
Language: Manipuri
Duration: 1 hr 5 mins

 

The Play

The play is an attempt to interweave two folktales – Yamata no Orochi from Japan, and Keibu Keioiba from Manipur. Yamata no Orochi is a serpent-dragon in Japanese myth, who has eight heads and eight tails, and its enormous body reaches across eight valleys and eight hills. It is a legendary story of how a young ingenious boy Susanoo saves a beautiful lady Kushinada from Yamata who was about to devour her. Yamata had already devoured seven of her elder sisters. In the Manipuri tale, Keibu Keioiba is a creature having half tiger and half human features. He kidnaps a young girl Thabaton, who was home alone. However, a clever old lady manages to make Thabaton’s seven brothers take revenge and save their sister.

The play highlights the virtues of sacrifice and martyrdom through the conversation between the mythical images of Japan and Manipur interwoven together to tell the stories of two hilltops.

 

Director’s Note

The play is an attempt to capture two different cultural tales and explore the possibilities of interpretation of these two cultures. It is an intercultural experiment of stories, music, dance and performing traditions. However, the attempt is also to give a contemporary meaning to the rich folklore of both the cultures of Japan and Manipur.

 

The Director & Playwright

Heisnam Tomba began his exploration of the world of theatre with his parents, Kanhailal and Sabitri, both well-known Manipuri artists. From them he received extensive training to be a director, playwright, music director and actor-trainer. Heisnam Tomba absorbed finer nuances of these skills early in life. He has written eight plays; has directed more than ten dramas including Kshudito Pashan by Rabindranath Tagore and An Enemy of the People by Henrik Ibsen; and has been the music director for two of Kalakshetra’s best known productions, Dakghar and Draupadi. He specializes in voice and movement training, and has taught at institutions in Delhi, Mumbai, Mysore, Kolkata, Chennai, Bangalore, Guwahati, Patna, Heggodu, Bangladesh and Singapore. His versatility received recognition when he was awarded the National Sanskriti Award and Senior Fellowship by the Ministry of Culture, New Delhi. He has directed an off-beat feature film Nobap in Manipuri.

 

The Group

Established in 1969 by late Shri Heisnam Kanhailal, Kalakshetra Manipur has evolved a distinctive theatrical style that is predominantly non-verbal. The group is dedicated towards expressing the realities of oppression and resistance that are a part of day-to-day living in Manipur today, through plays like Pebet and Memoirs of Africa. Other major productions of the group are Tamna-Lai (Haunting Spirit), Keibu-Keioiba (Half Man-Half Tiger), Khomdon Meiroubi, Imphal ’73, Izzat, Karna, Lajja, Kshudito Pashan, Draupadi, Dakghar, Samnadraba Mami (Disjointed Image), Hungry Stone and An Enemy of the People.

 

Cast & Credits

Yamata Maisnam Momocha
Keibu Keioiba (1) Kshetrimayum Priyobrata Singh
Keibu Keioiba (2) Pangambam Tyson Meitei
Susanoo Romario Thoudam@Paona
Iben Hanubi Kh. Sanjukta Devi
Mapa Ahanthem Upendro Mangang
Mama Huidrom Holina
Kushinada Roslin Akoijam Chanu
Thaba Thangjam Salini Devi
Mithingai Guru Koken
Chorus Takhellambam Budhichandra

Anantakumar Longjam

Lanchingna Laishram

                           

Light Laishram Ibochouba
Sound Designer Oinam Prasanjit (Boby)
Music Arranger Moirangthem Bise
Music Operator Moirangthem Prasanta Singh
Crafts Ch. Kunjakeshwar
Costume Khumanthem Sanjukta
Make-up Huidrom Holina
Set & props Guru Koken
Theme Picture Sketches Wahwngbam Robin
Yamata Written by Prof. Devraj
Translation (Manipuri) Prof. IS Kangjam
Translation (Manipuri to Eng.) Dr. Usham Rojio
Production Manager Kh. Ushakanta Singh
Assistant Director Pangambam Tyson Meitei
Production Kalakshetra Manipur
Acknowledgements Phurailatpam Nandakumar Sharma

Ningombam Jadumani

 

Playwright & Director Heisnam Tomba

 Contacts

Director

Kalakshetra Manipur

Langol Laimanai, Lamphel, Imphal – 795004

M: +91 7641031211

E: kalakshetra1969manipur@gmail.com

VAST de PHILIPPE PELEN
All Plays English Indian Plays

VAST

Playwright & Director: Phillippe Pelen Baldini
Group: Surya Performance Lab, Auroville (T.N.)
Language: English
Duration: 1 hr

 

The Play

This is the story of a young boy from Nepal who has been abducted and taken away from his family and home in the Himalayan Mountains. Kidnapped and abused, he now lives in a slum in a big city in India. He is all alone in the world, living stifled in his small room. He tries, day after day, to find in his body a door that opens to the ‘Vast’, a path to his Himalaya, and his own limitless nature, beyond confinement and misery. An encounter with a strange character helps him on his journey. This is the god Hanuman, with monkey and human features, heroic, wise, and full of humour.

Vast is an organic, physical and dance based performance that is hypnotic, emotional and universal. It showcases how the human body carries in itself the memory of the ‘Vast’. How the human body – beyond ruptures, oppression and confinements – has the nostalgia of nature and vastness.

 

Director’s Note

For the young boy whose childhood and dreams were shattered, the journey from confinement to freedom is a process of reconnection with nature and with himself, without any limitation. In this journey he is helped by Hanuman. Together they reconnect with the ‘Vastness’ they both come from. Hanuman is introduced here as a special character, the symbol of primordial memory. The play proposes a work on the memory of the body.

We are also exploring the relationship between body and the mother-tongue, between body and the ancient mantric poetry, between body and words. We draw upon contemporary dance, theatre, vocal work, and even aerial dance to explore this inner territory between confinement and Vastness. From gravity to weightlessness, it is also an exploration of the body being free in three dimensions, and of its expansion into Vastness.

 

The Director & Playwright

Born in France, Phillippe Pelen Baldini is the founder of Surya Performance Lab in India. He had earlier founded the International Talipot Theatre in Reunion Island, France. He has created and directed 40 shows with dancers, actors, musicians, and video creators from Africa, India, Europe and territories in the Indian Ocean. His productions have been welcomed at Opera de Paris, Théâtre de la Ville de Paris and well-known festivals in Honk Kong, Singapore, Italy, Brazil and South Africa. He has toured and worked in 82 countries. His shows have received awards in Poland, Scotland, France, Italy and South Africa, among other countries. He also directs workshops worldwide with professional dance companies, universities, townships and communities. He is interested in indigenous culture and has worked a lot with people from different ethnic groups in South Africa including the San communities as well as other different communities.

 

The Group

Surya Performance Lab is a dance-theatre company based in Auroville, India. In its 50-year long history it has worked with devoted artists and has performed in more than 82 countries. This professional company is directed by Philippe Pelen Baldini and Thierry Moucazambo. The group welcomes dancers, actors, photographers, video designers, painters, etc. from India and all over the world. Surya Performance Lab endeavours to create a bridge between art, science and consciousness. Inspired by the ‘First people’, indigenous cultures, ancient traditions, new discoveries in the field of body-mind consciousness and quantum science, it creates a contemporary expression and art, a new dramaturgy holistic and humanist, open to nature and the planet.

Cast & Credits

Performers Thierry Moucazambo, Gopal Dalami
Light Technician Ashwin Ezhumalai
Assistant Director Thierry Moucazambo
Director and Choreographer Philippe Pelen Baldini

 

Contacts

Director, Surya Performance Lab

E-4, Sunship Apartments, Auroville, Bommayapalayam,

Tamil Nadu, Auroville, Tamil Nadu 605101

M: +91 8903869078

E: suryaperformancelab@auroville.org.in